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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT SEPTEMBER 2013
POST PRODUCTION CAMPAIGNBRIEF SEPTEMBER/OCTOBER 2013 THERE'S NOT MANY HAPPY STORIES in the vfx and post production world these days. Rumours abound about this or that traditional post house close to closing their doors, while others seem to be desperately trying to 're-invent' themselves to stay relevant. But as the old world battles with a new digital age that puts affordable post tools in the hands of directors, creatives and even rank amateurs, has anyone discovered a way for a post house to actually be successful in this cli- mate? If the whispers are true, Alt.vfx may be the closest. In 2011 they exploded on the post and visual fx scene, producing the most awarded commercial that year -- Tooheys New's 'Nocturnal Migration'. From a small creative shop based in Brisbane they have managed to become a force in the national and global vfx community and are just about to open an office in Sydney. Yet they still remain largely unknown. So who is Alt? And what are they doing differently to everyone else? If an office represents a business the way clothes represent a man, the immediate answer would seem to be 'everything'. Arriving for our interview at their Brisbane head- quarters, I'm immediately struck by the fact that this feels nothing like a post house. Instead it feels like a zen, light-filled oasis with the entire central part of the building open to the elements. Every 'suite' or work area overlooks this space and is also filled with light, wood and a sense of... cool creativity. Where is the tension? The frenetic activity? The stress? Maybe Colin Renshaw and Takeshi Takada, two of the found- ing members of Alt.vfx can shed some light on the subject. "We are artists not business men," says Renshaw (VFX Supervisor and creative lead at Alt) when I com- ment on the creative feel of the sur- rounds. "So I would say that serendipity has been a bigger party of our success than strategy." So success has come by accident, I say. Renshaw laughs and shakes his head. "I'm not saying that we don't have a plan, but I will say that good for- tune comes faster when we just go with the flow. When we start think- ing like entrepreneurs we inevitably screw something up." Takada, who is Alt's executive producer interrupts, "But you make your own luck -- it's about the situa- tions you put yourself in and the risks you take and the people you collaborate with. You get those ingredients right and the good for- tune will flow." So what's an example of the serendipity that has helped them along the way? "Our partnership for one," says Takada speaking of his five year relationship with Renshaw. "We are very different people. I was produc- ing a lot of work out of Japan and Colin landed on one of my projects. I could see straight away that he was the only person I had ever worked with that shared my work ethic." "Banzai workaholic you mean," interjects Renshaw. "That part is true. But I think we feed off each other. I am the bull in the china shop and you are the bubble wrap." Colin laughs loudly with a snort. So how else has serendipity helped them? "Well the way we found our building in Brisbane is another example," says Renshaw. "The architect James Russell and I got put together as a team in a special Alt.vfx: an Alternate Reality By Essie Nathan Abbott's Bakery - Free range bread SBS - Emotions on demand Toohey's 'Nocturnal Migration' Foxtel - seeing is believing
Campaign Brief May-June 2013
CBNAT NOV-DEC 2013